Review: Fight through the blizzard of scrupulously meta promotional activity surrounding it and you'll find a record that deconstructs the bombast Aracade Fire have become known for, reveals the vulnerability behind the stadium sheen and offers a treatise on modern day superficiality and consumerism. Moreover, it makes a sterling job of all three - joyfully disco-inflected, poppily uplifting, stylistically adventurous and bolder than every before, this is a band who can reference ABBA and Bowie irony-free in a ditty about information overload and somehow get away with it - a bunch of eternal square pegs with emotional wallop and deft melodic skills at their disposal, constantly in search of musical worlds beyond empty rhetoric and grandstanding gestures.

Review: Fight through the blizzard of scrupulously meta promotional activity surrounding it and you'll find a record that deconstructs the bombast Aracade Fire have become known for, reveals the vulnerability behind the stadium sheen and offers a treatise on modern day superficiality and consumerism. Moreover, it makes a sterling job of all three - joyfully disco-inflected, poppily uplifting, stylistically adventurous and bolder than every before, this is a band who can reference ABBA and Bowie irony-free in a ditty about information overload and somehow get away with it - a bunch of eternal square pegs with emotional wallop and deft melodic skills at their disposal, constantly in search of musical worlds beyond empty rhetoric and grandstanding gestures.

Review: You might have heard about this LP..... After a pre-release campaign that took on Hollywood-esque proportions, French pair Guy-Manuel de Homem-Christo and Thomas Bangalter return as Daft Punk with their fourth studio album Random Access Memories sporting a A-list cast of guests and contributors. Given the input of disco icons Giorgio Moroder and Nile Rogers it's entirely understandable that the overbearing sound on Random Access Memories is one of classic disco with lead single "Get Lucky" a good indicator for what to expect. There's also a smattering of yacht rock within the thirteen track set, whilst the ubiquitous Panda Bear turns up on the midnight stutter funk album highlight "Doin' It Right". Those expecting a return to Daft Punk's Homework heyday will be disappointed but Bangalter and de Homem-Christo are touching forty so the polished, expertly constructed disco direction makes perfect sense.

Review: Another gem from the archives of Des Moines' favourite son: Samuel Jonathan Johnson - gets a much needed official reissue here. Johnson came from a family of musicians who were originally based in the Midwest. When he was six years old, the family moved to New York City, where he played for several churches and quickly gained notoriety as one of the city's finest musicians. His LP My Music was released in Europe to modest acclaim, but never received recognition back home. Disappointed in the outcome, he went into early retirement as a recording artist and began to work with local bands in the New York area. The 12" mix featured here of "You" combines the original funk riffs, captivating string arrangements and uplifting piano with a squelchy lead synth - which elevates the track to a whole new level. The aforementioned "My Music" on the B side is now a favourite with the diggers - spiritual soul from the one and only Samuel Jonathan Johnson.

Review: Despite being something of a confirmed jazz-funk classic, Hubert Laws' "Family" was never released on a 12" single first time around. Curiously, the full version - contained on the A-side of this edition - only ever appeared on the veteran flautist's 1980 album of the same name. It remains, particularly in its original stereo mix form, a superb summer breeze of a jam, with a loved-up female vocal and punchy orchestration riding a sumptuous mid-tempo groove rich in rubbery slap bass and lolloping drumbeats. On the flipside you'll find the more obscure Mono Version, which interestingly feels a little weightier at the bottom end whilst allowing Laws' superb flute solos space to breathe.

Review: Six years ago, an iconic and emotional concert at Madison Square Gardens marked the end of LCD Soundsystem. The accompanying documentary 'Shut Up and Play The Hits' delved into frontman James Murphy's reasons for the decision, with self-examination, a need for change and a fear of old age playing a part. Fast forward to 2017, and the surprise release of three singles accompanying the announcement of a comeback album triggers anticipation and a sigh of relief from fans everywhere. 'American Dream' meets expectations and at times surpasses them, with the familiar driving disco rhythms, strutting funk basslines and heartfelt morning-after-the-night-before ballads feeling like a well-needed catch up with an old friend. The current musical, social and political climates provide Murphy with platforms for his self-effacing and acerbic witticisms. This strong return to form was needed now perhaps more than ever, but simultaneously feels like they never left in the first place.

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